Tag Archives: Matthew Tennyson

“The Pillowman” at the Duke of York’s Theatre

It’s surprising that this is the first London revival and West End debut for Martin McDonagh’s 2003 play. Given its author’s fame and the work’s reputation, you might have expected to see the piece more often. It’s worth the wait. The Pillowman is every bit as puzzling and disturbing as I recalled from its National Theatre debut. And if you don’t know the play, then prepare to scratch and shake your head in equal measure.

The reputation isn’t hard to fathom. McDonagh always challenges his audiences intelligently and there’s plenty to think about, while pushing the bounds of good taste makes us laugh a lot. The language is blue (less shocking even since 2003) but, given how much child torture and murder features in The Pillowman, it should still be a hard sell. Even those who like the blackest of humour might blanch at the stories told here.

The teller of said stories is one Katurian, who we meet being interrogated my police in a nameless totalitarian state. The questioning is odd, but just as unsettling are Katurian’s morbid tales, which are quoted to her by the police and told in asides. And that isn’t quite right, is it? All our support should surely be with the writer. But the power of these stories, riffs on fairy tales that even Hans Christian Andersen would think go too far, is the focus. Because someone has been acting them out!

It seems a bit mean to say who the perpetrator is – it’s a good twist. But McDonagh plays with expectations marvellously. Firstly, Katurian’s brother, Michal, who is mentally challenged, loses our sympathy. Then those awful cops start to look… maybe not so bad? They have a story to tell, too. What Katurian gets up to made me gasp. The price this writer is willing to pay for posterity is another shocker.

Such strong material isn’t automatically easy to bring to the stage – McDonagh is demanding of performers. Director Matthew Dunster has engendered fine acting while showing commendable respect for the script. The policemen, Paul Kaye and Steve Pemberton, aren’t strangers to dark humour. If their performances lack surprises, they are still accomplished. Matthew Tennyson makes Michal suitably spooky, and his chemistry with his onstage sister is unnerving. But the star of the night is Lily Allen, who is revelatory in the lead role. Allen shows huge control as her character faces constant violence and horror, indicating how smart Katurian is, yet never going for cheap laughs. Above all, the importance of the work to Katurian is convincing, providing a sense of reality in a play that has so much fantasy and from which nightmares ensue.

Until 2 September 2023

www.pillowmanplay.com

Photo by Johan Persson

“A Monster Calls” from the Old Vic

Artistic Director Matthew Warcus’s Coronavirus lockdown project, entitled Your Old Vic is off to a fantastic start with this hit from 2018, co-produced with the London theatre’s namesake in Bristol.

Like the best of theatre aimed at younger audiences (the age recommendation is 10+) this adaptation of Patrick Ness’ novel appeals to all. And similar to the best of its kind – think Warhorse and Coram Boy – it tackles a tough subject we might shield children from. This story of a schoolboy whose mother is dying of cancer is tough stuff. Yet it’s brilliant from start to finish.

Anchored by wonderful performances from Matthew Tennyson, as Conor, Marianne Oldham as his mother and Selina Cadell as his Grandma, the play is honest about the complicated emotions that surround a long illness. The monster of the title is, of course, cancer. But the play also contains a pretty scary Yew Tree (Stuart Goodwin) who takes Conor on a journey of self-discovery.

Although the ensemble has some bumpy moments, three stories told by the tree and performed by all, means a lot of roles are covered by the small cast. Hammed Animashaun and John Leader impress as a Prince and an Apothecary as well as bullies in Conor’s ordinary life. Ness makes the important point that Conor’s problems at school continue. Other troubles don’t go away when cancer arrives.

In using fantasy and story-telling to reveal the truth, Ness tackles the anger and fear around loss for all his characters. Frequently violent, like many fairy tales, you might share Conor’s scepticism about allegorical touches. But with wit and twists we becomes convinced that “stories are the wildest things”. A sense of danger gains dramatic momentum in every scene.

Matching Ness’ imagination, the ideas for the show – inspired by Siobhan Dowd, devised by the company and directed by Sally Cookson – fill the stage with invention. Dick Straker’s brilliant projections and the sophisticated score from Benji Bower complement a simplicity to the staging that uses ropes to suggest the tree and many props. Technically brilliant, frequently beautiful, the shows very creativity serves as a hopeful note to help us through its emotional turmoil.

Until 11 June

www.oldvictheatre.com

Photo by Manuel Harlan

“The Seagull” at Regent’s Park Open Air Theatre

Given that The Seagull opens with its hero Konstantin putting on an outdoor performance, Regent’s Park feels a pretty good match for Chekhov’s play. The stunning venue is enhanced by Jon Bausor’s splendid design – a giant mirror hangs above the action, literally adding another dimension to reflect upon. Matthew Dunster’s production looks fantastic, but sadly there’s too much chasing after laughs so the play falls curiously flat.

The problem isn’t so much with Torben Betts’ new adaptation of the play – although the language is sometimes too direct, it can be good to shake up a classic. This version is easy to follow and feels modern. Rather, it’s Dunster’s emphasis on the comedy; he gets plenty of laughs but the humour doesn’t build and the play’s more poignant moments feel thrown away. Some characters suffer dreadfully: Medviedenko, the teacher, is reduced to a comedian with just one punch line, the ever-miserable Masha a wailing drunk and the young leads are simply too gauche. Matthew Tennyson and Sabrina Bartlett hold the stage as the aspiring artists Konstantin and Nina, and their naiveté gets laughs but both actors aren’t given a chance to delve deeper.

Other roles fare better. The writer Trigorin’s ego fascinates. Alex Robertson makes him funny and irritating – a petulant take on the character that’s interesting. And Janie Dee’s Arkadina manages to be at once jolly and roundly three-dimensional. Dunster is strongest with group scenes, highlighting uncomfortable dynamics as an “angel of the awkward silence” is said to descend. Also interesting are the two servants (Tom Greaves and Tara D’Arquian), who giggle at innuendo and silently respond to events.

The production also has the novel device of using a voiceover for character’s thoughts. It’s certainly startling but privileges certain players too much. Frustratingly, despite being inside their heads, we don’t feel any closer to them, and this internal dialogue is used indiscriminately and again mostly just for laughs. Nice try, but this showy device is symptomatic of a production that tries hard but doesn’t hit anything… apart from that poor seagull, of course.

Until 11 July 2015

www.openairtheatre.com

Photo by Johan Persson